Modern criticism has given increasing recognition to the functional, as distinguished from the decorative, aspect of rhetorical figures in the poetry of the English Renaissance. The continuance of this emphasis is particularly appropriate to Spenser's pastoral, Colin Clouts Come Home Againe (1595), where the relevance of the figures to the larger considerations of style—indeed, to the total discourse—is so cardinal. The importance of the figures is enhanced by the natural use of rhetorical arts by characters, set in a kind of mise en scène, whose suasory speeches largely comprise the poem. Stress of the functional side of the rhetorical elements in the poem need not deny or denigrate the role of the figures in conferring upon the verse an aura of conspicuous beauty. The office of the figures in this respect is simply another manifestation of the same taste for elegance which reflected itself in Renaissance dress, manners, ceremonial processions, and décor. The beautifying characteristics of the numerous word orders, comprised of tropes and schemes, were recognized and frankly accepted by literati of the Tudor period. In their eyes, figures possessed value as ornament by reason of their constituting departures from everyday speech patterns. The idea is conventionally phrased by Abraham Fraunce, whom many believe to be the Corydon praised in lines 383–384 of the poem: “A figure is a certeine decking of speach, whereby the vsual and simple fashion thereof is altered and changed to that which is more elegant and conceipted.”